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For this week, I’ve decided to do a six part post on T.S Eliot’s The Wasteland, possibly the most famous of the modernist poems, and certainly of Eliot’s own collection. Eliot’s position as a critic and essayist almost prevails over his reputation as a modernist poet. T.S Eliot however was distinctly different from his modernist counterparts, such as Woolf and Joyce, in that instead of embracing the rejection of tradition, he found the lack of spirituality and social values abhorrent, and he himself struggled with issues surrounding intimacy and his own faith. In time, he converted to Anglicanism, however his discomfort with faith led him to write extensively about the subject in The Wasteland.

The epigraph as printed in the text (1)

The poem itself is also a product of Eliot’s extended intellectual life; he had studied Sanskrit at university and was well versed in Buddhism, Hinduism, and Christianity. An example of this is the title of part three, “The Fire Sermon”, which is a famous text in Buddhism. The final words of the poem, “Shantih, shantih, shantih”, also originate in Sanskrit, and translate to “inner peace.” Eliot was also very familiar with the Greek myths, and the Holy Grail myths. The Wasteland is primarily an inter-textual work, one that not only exists as itself, in its own right, but one that is deeply involved in texts spanning thousands of years.

Eliot believed that everyone should familiarise themselves with the myths and legends, especially spiritual and religious ones; The Wasteland is almost exclusive, because only those (at least at the time) who were well read would have understood the full implications of the poem. However, the poem is such that each time it is read, it is understood in a different way, and a number of literary critical schools have sought to examine the poem, however none particularly successfully; it stands alone, and is, in my opinion at least, unrivalled in terms of nature and style, by any other poem.

The poem’s creation was a lengthy process, because it was repeatedly edited by his long-term friend and renowned critic, Ezra Pound. The extent of Pound’s input can never be truly confirmed, however it is fair to suggest that to a certain extent, Pound’s style affected the way in which the poem was formed, and so could be considered not only a work of Eliot’s genius and intellect, but also in a small way, of Pound’s genius also. The poem and epigraph are dedicated to Ezra Pound.

The very beginning of the poem is the epigraph, an extract from Petronius’s Satyricon, and really summarises the nature of what is to follow. Petronius’s Satyricon is a Latin work of fiction, of both verse and prose. This in itself is a tumultuous combination and symbolises, at least to those who know of the text, that The Wasteland may also be tumultuous in style and structure. The epigraph reads:

“I have seen with my own eyes, the Sibyl hanging in a jar, and when the boys asked her “What do you want?”, she replied, “I want to die.”

The Cumaean Sibyl wished for eternal life, and neglected to ask for eternal youth, and therefore as time passed, she was unable to die, and simply withered away, caught in a jar, almost like a gilded bird. This summarises essentially a spiritual withering, in a metaphorical sense; without youth and beauty, there appears to be no reason to live, and so she is caught in eternal suffering, because of her great vanity. Vanity and the superfluous nature of beauty are themes that run throughout the poem, particularly in the first three parts of the poem. Eliot was repulsed by the obsession of beauty and vanity and so sought to move away from this, wherever possible, especially since it was very much linked to the sexual, something Eliot was uncomfortable with throughout his life.

The conflict of religion, of modernisation, of industrialisation and of reformed society as a whole were all issues that Eliot was deeply concerned with, however the most prominent of these issues was the issue of spirituality and sanctity of spirit. The issue of spirituality (something rather separate from religion) is explored in great detail throughout the following five passages. The poem is structured in five sections, although these sections can be considered poems of abstraction in their own right; they feed into one another and follow a progressive, reflective pattern.

It is however important, I think, to remember that The Wasteland is not just an intellectual work, and nor is it purely autobiographical. It certainly contains elements of autobiography, however like all texts, there are an infinite number of interpretations that can be applied to it, and it can translate in a number of ways for different people. It is also something fundamentally beautiful, poetic; something that can be enjoyed as well as analysed. It’s probably the poem that confirmed my desire to study English Literature, and the poem that confirmed my love of modernism.

This image shows the first page of Part One, with the original title: "He Do the Police in Different Voices", the original transcript. As you can see if you read closely enough, this version retains little of the finished version, except the section title: "The Burial of the Dead" (2)

Tomorrow I shall be writing about Part I: The Burial of the Dead, which is the beginning of the exploration of spiritual corruption as Eliot sees it.

Eastern Europe holds a certain allure, because it is essentially on the same continent as France, or Germany. However Hungary, Poland, and Czechoslovakia are rather alien in terms of culture and social convention, although less so in terms of religion. We, who call ourselves European, are in fact rather sheltered from the essence of Europe, and so this summer I’m hoping to rectify the situation by visiting Budapest with a friend. I’ve always been curious about the history of Hungary, and the history of the Hungarian Jews, ever since looking at the impact of World War Two on the country.

I rarely go on holiday to cities; as a family tradition, we tend to sit by swimming pools or on the beach; anything to avoid the appearance of money belts and explorer shorts, and the taboo socks and sandals combination. We sit by the pool and complain that we are hot; we are typical British people on holiday when it comes to discussions on the weather. We don’t often visit cities; we’ve seen New York and Boston, and had a day in Pisa; but on average, city breaks are not a family venture, especially when you have younger children; pulling them through blistering heat with a plethora of other tourists is an organisational mission, as well as requiring the patience of a saint.

St. Stephen's Basilica (1)

However, cities have a vast number of opportunities for cultural exploration; museums and access to authentic cuisine is one of the highlights for me in exploring cities. I have found that eating at the same restaurants as the locals improve’s one’s understanding of the local food and local traditions, especially further afield. However, if you’ve been touched by the cruel hand of food poisoning, there’s really nothing wrong with a McDonald’s. Our Western digestive system isn’t always trained for layered cabbage dishes, or in more extreme cases, stuffed lamb heads, or stewed insects. You do become accustomed to things assuming you are prepared to try them however.

I’m thoroughly looking forwards to having a look round the Hungarian National Museum, and visiting the shopping centres and markets. The Saint Basilica has a certain appeal too, venturing into the Roman Catholicism world and the history thereof. The architecture of the building also has roots in Greek architecture and Roman history and therefore we’ll be exposed to neo-classical elements of Budapest too. I’m hoping to look around the city and night, eat some Hungarian food and go to the Hungarian opera.

The only challenge is to make the trip as cost-effective as possible; stay in a hotel in the centre of the city so that we save money on transport costs, and hopefully, somewhere where breakfast is included. As Michael McIntyre says, on holiday, we convince ourselves that we won’t need lunch, because we never want to eat when we’re hot. I’m rather hoping that we’ll be sufficiently busy that we won’t need to be thinking about food all the time; four days isn’t very long to look around such a beautiful city, but I think if we fill all moments of consciousness with interesting activities, we should be able to maximise the time we’re there for.

Since I began studying T.S Eliot for A level coursework last year, I have begun a long-enduring love affair with a man who could be considered modernism’s most reserved man. He belonged to the Bloomsbury group alongside others such as Virginia Woolf, Vanessa Bell and Clive Bell. These academics were renowned for being sexually liberated, and experimental in every approach to life and literature they took. They took the traditional and destroyed it, and reformed it to the style we now know as modernism, and in this sense, Eliot was no different.

T.S Eliot: A Literary Hero (1)

His poem, “The Wasteland” is written in five books, describing the spiritual journey from corruption to the potential for being reborn and rejuvenated. The essence of Eliot’s genius here however does not lie simply in the poem’s construction, and continual changes in narrative; the true depth and substance of the poem is contained in the intertextuality which serves to create an exclusive club; Eliot uses allusions to Greek mythology, Roman mythology, the Bible, Buddhism, D.H Lawrence, James Joyce, Augustine’s writings, Spencer’s works, to name a few. And in order to understand all these allusions, then surely, you’d have to have read widely and voraciously for all of your literary life. The depth of these allusions show just how educated Eliot was; for all his personal and social misgivings, he was perhaps the most inspirational literary critic and author of his time, purely because he deigned to read everything that had ever been written; nothing that had been written was deemed too insignificant, because as Jacques Derrida says: “there is nothing outside of the text.” Everything is a part of the poetry Eliot created, in the same way that he became a part of everything he read.

A major part of Eliot’s poem is the allusions to religion; Eliot spent much of his life in religious turmoil, and in this way looked into many types of religion including Buddhism, and had a deep fascination with Christianity and it’s origins in Latin and Greek. He felt it was extremely important to read the original texts in order to connect with them on a personal level. He later converted to Anglicanism, which seemed to provide him with some comfort, despite his personal struggles with sexuality and human relationships.

The poem itself formed the beginning of my fascination with modernism; despite my interest in Renaissance literature, the poem seemed, to me at least, to transcend literary periods due to the density of allusion. The poem is hailed as one of the cornerstones of 20th century literature, and rightly so; the spirituality presented is rarely explored in poetry to the level that it is, and because of this, I think it relates to everyone in some way or another. The explorations of love especially fascinate me, because the poem rejects physical love as something some people need, however that spirituality and an understanding of faith is something that people crave more. The idea that those who read it belong to a ‘club’ of elite literature is also very appealing; there is the implication that you belong to something inspirational and special; it is not accessible to all, and for those who wish to, the reward of understanding is very much an intellectual and emotional one.

I’m hoping to look into T.S Eliot in more detail, and hopefully write a thesis one day on his life and works. It is not an exaggeration to say that “The Wasteland”, alongside Wuthering Heights is my favourite work of English literature of all time, and I implore those who haven’t had the pleasure yet to delve in, accompanied by Google and a companion to T.S Eliot, and enjoy the roller-coaster he writes, perhaps unintentionally.